Jack

On paper my p bass is just as good as Pinos and better than Jamersons.

Some pretty awesome p bass and tube amp tones.

And any mic on the front line is just a drum and backline mic too. In my last two bands I used optigates on the backing vocal mics to keep them turned off until you shove your face in them. That might be something to look into if there's a drummer struggling. It won't help them get thier voice above the drums when they're singing (as mentioned, that's what a tight pickup pattern is for) but it will mean there's no drums coming through when there's no vocals. I know most digital mixers have software noise gates but I never could ride them enough whilst also being the bassist. Hardware ones are brilliant.

The Prodipe TT1 is superb as a loud stage vocal mic. I bought my two based on the thread on pro sound web.

My rule has always been that if it's necessary it has a spare. I take a spare bass, but I don't take a spare strap (I'll sit) a spare wireless (I'll use a cable) or mic (I'm not the lead singer) etc etc. In backline bands we never bothered with a spare mixer. Even though we always ran super quiet on stage and used mics/di there's nothing stopping you from going old school. We'd just turn the amps up and run the lead vocalist straight into the speakers. My last band was all iem and no stage amps so we did take a spare as without a mixer we essentially couldn't play. Thankfully I owned a mixer and so did a guitarist. Although all this is theoretical as I've never had a mixer fail on me. Fingers crossed!

I just sold my two rcf 715s for £500 each. Actually, I got talked down on the second one.

Best amp I ever had. Enjoy it.

Please, sorry, don't take my post too seriously. I'm not in any position to put anybody else in their place. I do think I might have some sort of point in that if a mass-market amplifier actively marketed the fact that it cuts bass off then it might put some people off. However, I don't have the data to prove it other than the smaller manufacturers who make boutique stuff seem to often include this feature and the more PMT/Guitar Guitar/high street stuff doesn't. Anyway, I'm off to play in front of 20 people, big crowd tonight.

Basschat is not representative of bassists. I have a feeling that if you marketed a hpf most people would think it silly that you'd take the bass out of a bass. It's a feature that you see in some more expensive amps, which I suspect are bought either by more serious players, or people who nerd out on bass forums and play 20-person-audience gigs with a Fodera. 🫣

Speaking of which, can someone clarify the app control stuff on the A&H? My XR18 is due an upgrade... Does it work perfectly fine if connected to an external router? This would be for me on soundman with a tablet and others on only their IEM mix with their phones.

Our man joined the army and was sent into the armoured cavalry, until they realised that you couldn't close the hatch of the tank over his head. So he was shipped off to the horse guards to look impressive for the tourists. Being 202cm got him out of going to Afghanistan, so there's that.

After being unceremoniously fired from my nascent pop rock band it was nice to play a no-pressure, little gig for an old friend. Slightly awkward as the rhythm guitarist from this band is still in the pop rock band that fired me, but there's not too many hard feelings between us as it's the singer who's the problem. Well, he'll tell you that I'm the problem, so fair enough. The guitarist in my old hard rock band (that still gigs very occasionally) was turning 50 and he had assembled pretty much every musician he'd ever been in a band with to play a couple of songs each at his birthday party. Guitarists, eh? "What should I do for may party? Make everybody watch me play, because I'm GREAT!" The hard rock band did 5 or 6 numbers, but we were joined by said birthday boy's 15 year old son on drums as our old drummer is incommunicado these days. I also played with another band of his where the singer couldn't make it so the bass player stepped on to lead vocals, only to find that some songs were tricky to play and sing at the same time, so I filled in on bass for 3 songs there too. Good fun, nice to play a show again as I currently don't have a band, although one is in the works. Rig was a Warwick Thumb, into my HX Stomp and we used my QSC wedge as backline as it was also the keys and edrums 'amp' for stage volume. Weird to play a gig where not everyone has in ears these days, but the keyboardist hadn't played in 20 years and the drummer is a literal child, so I guess sometimes you have to do things the old fashioned way! Videos from soundcheck/messing around. I don't know why they're so bad, my wife has a great phone and does social media for a living, but it really struggled with the lights for some reason.

Yeah. The speakers don't know which cabinet they're in, it's just the wiring of the circuit that matters.

For all of his hair-brained ideas, a series/parallel wiring change isn't too bad. I mean, usually on a jazz it's a switch rather than a permanent change, but whatever.

Oh, obviously. 🤥

Indeed. Not really sure what you're getting at but if your point is "bridging isn't worth it" then again I wonder why a lot of micro heads do just that. I guess it's because that's how the amp modules come from the manufacturers, but then, why do they do it? I didn't ever feel the need to bridge the pa power amp I used. The cabs that need a lot of help getting loud can't usually handle the power, I'd have loved to have seen 1kW+ into something like a TE 1x8". For ten seconds. Conversely the cabs that can handle the power like a 4x12" or an 8x10" have enough sensitivity that they don't need a lot of power to get loud. So either way it seems useless. It's almost like professional, touring grade, rack mount pa amps weren't designed for weekend warrior bassists.

A lot of class D heads actually use two separate ampliers "bridged" together to get double the voltage swing on the output. A lot of big old school pa amps could do this if you wanted to put all your eggs in one basket rather than running stereo. This is a great way to get extra power out of a small amp and it's usually invisible to the user, up until you do something like use a speaker level di box or run a 1/4" cable through the socket when the amp is turned on and short the two amp modules together. I had a qsc plx 1602 for a long time. If I had an 8ohm cabinet I could either use one of the two amps to give the cabinet 300W, or I could bridge both halves together for 1100W. Some small class D bass heads just have two smaller amps permanently bridged with no user choice. I don't really know why to be honest, @agedhorse? I guess it's easier or cheaper than just having one big amp module somehow.

G&L SB2 Tribute. You'll thank me later.

Either system will work just fine with your Stingray. With the Nux you might need a cable, with the Shure you will need a cable.

I know you're joking but the actual answer is because bass amps went from 50W to 1200W. Not that 1/4" is a good idea at any power, but I digress.

Yeah but that's a custom cable as far as I know. Sorry I missed that you had already suggested that above when I suggested the same thing in my post.

Good solution. Mine was to use the tuner on my wireless. However, this won't help the op. I'm sure you could wire a cable with a socket on one end (to accept the hx psu) and then a split to the helix and the boss on the other. Polarity etc aside it's still just 9v dc. Maybe one of our cablers on here could help? Or kludge it with adapters? But then you'd need the hx psu, a step down from 2.5 to 2.1, a y cable, and then one side stepped back up to 2.5. At that point it's maybe a little messy?

The tuner is fine, just a waste of a switch.